thu 20/09/2018

alexandra coghlan

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Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.

Articles By Alexandra Coghlan

Prom 15, Lewis, BBC Philharmonic, Gernon - a masterful Emperor took the musical laurels

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The Winter's Tale, Shakespeare's Globe review - a chilly tale for a time of austerity

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Partenope, Iford Arts review - a midsummer night's dream of a Handel comedy

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theartsdesk in Paris - following in the footsteps of Gounod

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Acis and Galatea, English National Opera, Lilian Baylis House review - Handel for the hashtag generation

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Die Zauberflöte, Garsington Opera review - visually stimulating, conceptually confusing

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Effigies of Wickedness, Gate Theatre review - this sleek cabaret conceals desolation behind a smile

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Lessons in Love and Violence, Royal Opera review - savage elegance never quite glows red-hot

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An Ideal Husband, Vaudeville Theatre review - unsettled evening leaves blood on Wilde's drawing-room furniture

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Vivaldi's The Four Seasons: A Reimagining, Sam Wanamaker Playhouse review - a gentle exploration of life, love and death

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Rinaldo, The English Concert, Barbican review - Bicket's band steals the spotlight

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Dead Man Walking, Barbican review - timely and devastating meditation on human violence and forgiveness

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Kaufmann, Damrau, Deutsch, Barbican review - bliss, if only you closed your eyes

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Jansen/Maisky/Argerich Trio, Barbican review - three classical titans give chamber music masterclass

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Orlando, La Nuova Musica, SJSS review - Handel painted in primary colours

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Louise Alder, James Baillieu, Wigmore Hall review - sensual heat thaws a winter's evening

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Faces Places review - Agnès Varda's enchanted journey

On the eve of her ninth decade, the marvellous ...

James Graham: 'the country of Shakespeare no longer rec...

Thank you. It’s an honour to have been asked to speak here today. Although looking at the h100 List this year, I’ve no idea why I’m presumptuously...

The Outsider, Print Room at the Coronet review - power in re...

As the Syrian conflict enters its final convulsions, renewing memories of how the Sykes-Picot agreement – between an Englishman and a Frenchman –...

Heathers The Musical, Theatre Royal Haymarket review - a sar...

This London premiere of Kevin Murphy and Laurence O’Keefe’s 2010...

CD: Prince - Piano and a Microphone 1983

Knowing a deceased artist's archives are available for re-release is a double-edged sword. Will there be a shoddy flood of any and every old bit...

Agnès Varda: 'You think I'm finished?!' - int...

At a time when the issue over the scarcity of opportunities for female...

David Crosby & Friends, Shepherd’s Bush Empire, review -...

“This, quite possibly, could be a really good night,” declared...

Never Here review - conceptual art may damage your health

Beware the hidden powers of the cellphone. When in...

Isouard's Cendrillon, Bampton Classical Opera review -...

Cinderella as opera in French: of late, the palm has always gone...